One A.M.

One A.M. is a 1916 American-made silent comedy film that marked a unique entry in Charles Chaplin's oeuvre, known for its minimalist cast and self-contained story. This flamboyant comic exhibition of pantomime genius is proud to bear the mark of Chaplin, who has not only its lead role but also the dual responsibilities of director and writer. Besides Chaplin, the only other notable cast member is Albert Austin in a fleeting appearance, making this film almost a solo act.

The film is presented by the Mutual Film Corporation, then commonly known as The Lone Star Film Corporation. It is often cited as an example of how Chaplin's early work could be avant-garde. The 34-minute long movie primarily focuses on physical comedy but also subtly reflects on various aspects of the human condition and draws profound nuances from seemingly mundane activities.

The storyline of One A.M. revolves around Chaplin's character, a wealthy individual returning home after a night of drinking. The entire film revolves around the examination of his struggle to maneuver through his own home without causing an uproar or hurting himself.

Albert Austin is seen briefly in two different roles: a taxi driver and a portrait inside the house, thus making it technically a two-actor film but essentially a solo show. The masterstroke of this film lies within its simplicity and the ability to make mundane everyday occurrences into humorous situations.

One A.M. shows the beauty of Chaplin's prodigious talent at physical comedy. As we observe the protagonist making futile attempts to overcome his intoxication and make his way around the house, we illustriously witness Charlin's marvellous command over his craft as a comedian, making ordinary objects his fellow comic partners.

The entire story unfolds in the confines of Chaplin's home exterior and interior, a richly furnished abode decked with a plethora of objects that become the heart of visual gags. From a diabolically swaying carpet to a pivoting staircase and a mutinous Murphy bed, these non-living elements play essential roles in the comedic narrative, as Chaplin's inebriated character engages in a battle of wits against them.

One A.M. stands out from the slapstick humor and escalating gags typical of silent comedies at the time by relying on a single overarching gag, highlighting Chaplin's talent for timing, physical agility, and his unique ability to create humor from seemingly basic scenarios. His fluid body movements and expressive face successfully convey his situation to the audience, making dialogues redundant and proving that true comedy transcends verbal communication.

The brilliance of One A.M. lies in its simplicity and execution. It serves as a one-act structure seminar, a masterpiece of physical comedy and silent film, where the setting and the character become intimately linked, and the narrative speaks more through actions than a concoction of words. The film showcases comic timing at its best with innumerable gags, glitches and Chaplin's classic slapstick humor.

Charles Chaplin's performance reveals his indisputable aptitude to transform an everyday scenario, returning home intoxicated, into an entertaining spectacle that audiences could relate to and laugh at. This film is not just about Chaplin's hilarious attempt to manage his way around his luxurious house but also an exploration of human vulnerability in the face of self-inflicted predicaments.

In conclusion, One A.M. is a testament to Charles Chaplin's unique ability to make us laugh at the ordinary, and simultaneously reflect upon it. It underscores the charm of silent films where a simple narrative could be dipped into humor, uplifted by skilled acting and enhanced by compelling cinematography. For enthusiasts of classic cinema and admirers of Chaplin's artistry, One A.M. is a must-watch. This uniquely devised comedy distinguishes itself by the brilliance of its solo lead, transforming a simplistic premise into a timeless classic of early 20th-century cinema.